Posted on January 6, 2020May 12, 2025 by Dale Phillips Meet the Maker: Bart Reiter Meet the Maker: Bart Reiter by Paul Hostetter previously published in American Lutherie #34, 1993 and Big Red Book of American, Volume Three, 2004 As a card-carrying guitar nut, guitar player, and luthier, I’ve always felt a bit like a turncoat because of my jaundiced view that our current vibrant lutherie world is somewhat top heavy with guitar nuts. It’s one reason I like the GAL so much: there are all these wild cards who have a very nonflattop agenda. I love it! But it seems that every time I go to a Guild convention someone I really want to meet doesn’t show up for some reason. It happened again last summer, though I knew I’d find dozens of other surprises amongst the corn fields and bomb threats ‘way over there in Vermillion. Among them were two of the very top figures in the world of banjo, Bart Reiter and Ron Chacey. Dan Erlewine issued me a blank cassette and commanded: “Go forth and interview!” Dutifully, and happily, I did. I’d always wanted to meet these guys anyway. Here’s the first one I talked to. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 2, 2020May 19, 2025 by Dale Phillips Gimme Back My Minutes Gimme Back My Minutes by Rick Turner previously published in American Lutherie #26, 1991 and Big Red Book of American Lutherie, Volume Three, 2004 I’d like to share a couple of things with those in the repair business: how I handle the financial end of repair work, and what I’m trying to do to gain back some of the eight to ten hours a week I currently lose talking to customers. I do repair work for Westwood Music in Los Angeles, working as an independent contractor. I set my own hours, use my own tools, pay for my own worker’s compensation insurance, and establish the prices for the repair work. There is one other part-time repairman, David Neely, and he works the same way I do. Prices for repair work are set for each job either by direct quote from our price list or an estimate of time at $50 per hour. On big jobs or for building custom Strats from generic parts I drop the hourly to $45; I figure there’s less time wasted talking on bigger jobs. Our store sales people sometimes take in the work (the more of that the better), and they might make a ballpark estimate. We in the shop usually call the customer to give a closer price and/or suggest additional needed work. When the job is complete, I fill out a four-part sequentially-numbered store invoice which includes labor, retail-parts cost (at the net-to-musician price — we figure any applicable discounts), sales tax, and the invoice total. I keep a copy which I use to bill the store, and the second copy goes on a clipboard in sequential order. The instrument, along with the two remaining copies, is put in the front of the store in the “to be picked up” pile. When the customer picks up the instrument, he or she gets a copy, and the remaining copy is filed with the store’s daily receipts. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Clark Harp Value Questions: Clark Harp Value by Howard Bryan Originally published in American Lutherie #80, 2004 and Big Red Book of American Lutherie Volume Seven, 2015 Keith Davis of Iron River, Michigan asks: I have in my shop an old Clark harp, SN 2102. The owner wishes to know more about its value. The headblock has been reglued, and there are a number of small, inconsequential cracks in the soundboard, but it is otherwise in great shape and has its original stand. Howard Bryan of Lynchburg, Virginia answers: Clark Irish harps are cute, and they certainly filled a void when they were being built. They also had some neat design features, like the little collapsible stool that became an integral part of the instrument when needed. That said, there are far better harps being made today. The main problem with the Clarks is the sharping blades, which are not adjustable. With a new soundboard, intonation isn’t too bad, but as the harp matures the string lengths change and the blades are no longer in quite the correct place, so the harp plays out of tune with blades engaged. I recommend that active musicians buy a more modern instrument from one of the better makers, as opposed to spending big bucks reconditioning a Clark, but emotions are often a factor and we have repaired/restored several in the last couple of years. Typically most need the knee block and pillar/neck joint reglued. Since the original joints were doweled, it is usually a trick to get them completely apart. Many need new soundboards, which is an expensive repair. The originals were fine, but most are becoming unglued and many have split. They seem to sell for around $3000 if in really good shape, less if they need work. A Clark Irish needing neck/kneeblock/soundboard repairs can usually be had for under $500, but the cost of repairs needs to be added to the purchase price.
Posted on January 19, 2010September 10, 2025 by Dale Phillips Questions: Digital Photography Questions: Digital Photography by Byron Will, and R.M. Mottola Originally published in American Lutherie #81, 2005 and Big Red Book of American Lutherie Volume Seven, 2015 James from Cincinnati, Ohio asks: I’m switching from film to digital photography. I’d like to take photos to send to clients during construction and post on my website. I’d also like to take really good studio shots for my portfolio. I know this can’t be answered comprehensively in the Questions column. Right now I’m looking for tips and/or directions to pursue. Byron Will of Portland, Oregon answers: My experience taking photos of my harpsichords and other instruments and teaching digital photography at the community college here might be of use. You don’t mention if you’ve already purchased your digital camera. If not, I recommend you check out these websites that I’ve found very helpful for determining what to buy: www.dpreview.com and www.steves-digicams.com. Bear in mind that the quality of the optics is as important as the number of megapixels. Become A Member to Continue Reading This Article This article is part of the Articles Online featured on our website for Guild members. To view this and other web articles, join the Guild of American Luthiers. For details, visit the membership page. MEMBERS: login for access or contact us to setup your account.
Posted on January 10, 2010May 26, 2025 by Dale Phillips Letter: First Guitar Letter: First Guitar by Gretchen Weeks Brough Originally published in American Lutherie #45, 1996 Dear GAL, I am a new member, in the process of making my first guitar — a flattop acoustic cutaway. I became interested in lutherie when my husband needed a quality acoustic guitar and we couldn’t afford what he wanted. I asked a local luthier about learning the art, and his recommendation was to get all the books and videos I could find, and then buy a kit from Martin as a first project. This, we could afford! In AL#43, a letter from Mr. Rick Topf mentions computer aided design (CAD), and wondering if there would be any interest in drawings done in AutoCAD format. There certainly is! I am, by trade, a freelance computer drafter, working in AutoCAD format. Not only would I be interested in drawings anyone else has done in AutoCAD, I would be happy to offer my services to anyone who wants their drawings done in AutoCAD. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
